Anyway, Dylan recovers in a hospital thanks to the black rock reviving him (make note when the EMTs arrive and their lagging sense of urgency). The speeded-up sequence itself is just hilarious to watch, especially since the car appears to be going rather slowly in the previous shot. I’m a witness.”Īlso in the first ten minutes, we watch adult Dylan get creamed by a Rolls Royce. Who doesn’t bring a 30-year-old notebook with them to a barbeque?Ģ) “It was the Rolls Royce that hit ‘em. It falls magically open to the SAME page, revealing the SAME message: “It’s a magical day!” Apparently she still carries that notebook around everywhere she goes and has never written in it since that fateful day. Why is this stranger, and her then fiancé, invited to a limited family engagement? Anyway, the way that these two people reconnect is that adult Leah bumps into adult Dylan and drops, what for it, the SAME notebook. Anyway, Dylan and Leah never saw each other again after that magical summer that is… until she’s invited to a family barbeque. We flash forward many years to an adult Dylan (Breen), who looks at least ten years older than the adult version of Leah (Jennifer Autry). But this opening scene isn’t done with its magic. Young Leah then says, twice, “It’s a magical day!” Oh, but if that wasn’t made abundantly clear, she also writes it in a notebook and shows it to the audience. “It must mean something,” young Dylan lets the audience know. The mushroom disappears, revealing a jewelry box, and inside is a black rock. The film opens with an eight-year-old boy and girl waking through the woods, coming across a magic mushroom (not that kind). First, I want to describe four of my favorite things about Fateful Findings and Breen. For fans of woefully bad cinema, there’s a lot to dig in and I’ve got my knife and fork. Like Wiseau’s accidental masterpiece of cinematic miscalculation, Breen’s film is awash with bizarre directing choices, curious line readings, painful acting, subplots that come and go as they please, a lack of resolution, characters that behave more like aliens than human beings, odd camera framing and compositions, and, naturally, an ending that must be seen to be believed. It just so happens one bit, and now Fateful Findings is gearing up for a nationwide release specifically targeted at the midnight movie crowd that made The Room the sizeable cultural hit it is. He sent it out blindly to distributors looking for any takers. According to a Deadline Hollywood report from October 2013, Breen wrote/directed/produced/starred/edited/and just about everything else a little bundle of love called Fateful Findings. I have to sniff out anything that comes remotely close to replicating that wonderful experience.Įnter Las Vegas realtor and architect Neil Breen. The Room is one of my favorite movies of all time my love for it knows no heavenly bounds. But as a lifelong lover of all things cinematically terrible, thanks in part to growing up on a healthy appetite of Mystery Science Theater 3000, I am compelled to seek out the worst of the worst. There have been several contenders over the years, most of which were amusing, such as Troll 2 or the original Birdemic, but some of which made you consider the value of life itself, such as 2009’s After Last Season. Ever since the ascent of Tommy Wiseau’s The Room atop the dung heap mountain of midnight movie fare, the world has been avidly searching for the next so-bad-it’s-amazing film.
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